The film follows the misadventures of a Chinese immigrant living in America running a laundromat with her husband as she is being audited by the IRS where a man who is an alternate version of her husband warns her about an event that threatens the multiverse as all hell breaks loose. It is a film with an offbeat premise that plays into the life of this women as well as these “what if” scenarios about the kind of life she could’ve had depending on the decisions she’s made in her life. The film’s screenplay by Daniel Kwan and Daniel Scheinert plays into the dysfunctional life of Evelyn Quan (Michelle Yeoh) as she is dealing with her elderly father Gong Gong (James Hong) who is visiting her for Lunar New Year while doesn’t want to tell him that her daughter Joy (Stephanie Hsu) is a lesbian with a girlfriend in Becky (Tallie Medel). Things for Evelyn and her husband Waymond (Ke Huy Quan) aren’t going to great as Waymond is thinking about divorcing Evelyn feeling like he’s let her down as they’re dealing with the IRS as an auditor in Deidre Beaubeirdre (Jamie Lee Curtis) who is looking over the family’s taxes where things become strange due when a version of Waymond emerges into his body to warn Evelyn about something crazy.
It all relates to a multiverse that is being threatened by this evil figure from a universe known as Alpha with Alpha-Waymond being able to get into his own body to communicate with Evelyn as other alternate version are around including Deidre who would constantly fight Evelyn. Evelyn would also encounter these alternate versions of herself through her mind including an idea of “what if” as it plays into what if she and Waymond never married as well as other things in her life. Most notably her relationship with Joy as it is filled with a lot of issues leading to an Alpha version of her known as Jobu Tupaki who is wreaking havoc on the entire multiverse with Evelyn being its main target. It also adds to the stake where both Joy and Waymond would go in and out of being possessed by their Alphaverse versions as they also deal with an Alphaverse version of Gong Gong who believes that Joy, when she’s possessed by Tupaki, is a greater danger as it relates to her nihilistic views.
The direction of the Daniels is definitely stylish as it play into these ideas of the multiverse as much of the film is shot on location at Simi Valley in California. While much of the compositions are straightforward in its close-ups and medium shots, there is a lot style to the overall presentation as nearly half of the film is set at the IRS building where much of the action occurs. Notably as there’s some wide shots in the location while the scenes in the multiverse would have the Daniels use different aspect ratios including a sequence of Evelyn as a movie star and other elements that play into alternate realities and “what ifs” scenarios. Even as there’s bits of animation such a crude kids’ drawing in a brief moment as there are these moments of surrealism that occur throughout the film. Notably in the scenes set in Tupaki’s home base as it is a home to her nihilistic views with the symbol of it is shaped like a bagel as there are a lot of references to bagels including how the Alphaverse is suffering due to the death of cows which is the source for cream cheese.
The Daniels also use different film references such as the sequence of Evelyn as a film star as she meets a version of Waymond as it is told in a style similar to the films of Wong Kar-Wai. There are also these weird moments as it play into this element of absurdity such as people having hot dogs for fingers or a strange version of Ratatouille involving a raccoon. The film is broken into three parts as it play into the journey that Evelyn would take as she also wonders all of the things that are happening as it relates to her family and their own fragile relationship. Even as it forces Evelyn to make some changes and realize about the decisions in her life would make an impact as she ponders about what if she chose this scenario or that one yet it is Waymond who would be the one to realize what must be done as it would give Evelyn a reason to save her family. Overall, the Daniels craft an evocative and wondrous film about a woman trying to save her family and confront her own life decisions relating to the multiverse.
Cinematographer Larkin Seiple does brilliant work with the film’s cinematography as it play into the look of the rooms in the IRS building as well as being low-key in its presentation with usage of vibrant lights at the palace that belongs to Tupaki. Editor Paul Rogers does amazing work with the editing as it has elements of style in montage-style match cuts, jump-cuts, and other stylish cuts that play into the action and drama. Production designer Jason Kisvarday, with set decorator Kelsi Ephraim and art director Amelia Brook, does excellent work with the look of the laundromat as well as the IRS office floor and other sets to play into the different multiverses that Evelyn would encounter. Costume designer Shirley Kurata does fantastic work with the costume from the clothes that Deidre wears as well as the different kind of clothes that Joy wear in the many personas she would have as Tupaki.
Special effects makeup artists Jason Hamer and Hiro Yada do terrific work with the design of some of the props such as the hot dog fingers as well as some of the makeup that Tupaki would wear. Special effects supervisor Jonathan Kombrinck and visual effects supervisor Zak Stoltz do incredible work with the visual effects in creating the look of some of the visual effects and the machines that are used to track individuals as well as the design of the bagel at Tupaki’s world. Sound editors Brent Kiser and Andrew Twite does superb work with the sound in some of the sound effects created as well as the way rooms sound on location. The film’s music by the band Son Lux is incredible for its rich score that is filled with unique ambient textures, offbeat percussion arrangements, somber string arrangements, and other elements that play into the suspense, drama, and humor as it is a highlight of the film while music supervisors Bruce Gilbert and Lauren Marie Mikus cultivate a soundtrack that features more original music from Son Lux that include collaborations with David Byrne, Mitski, Nina Moffitt, Hanna Benn, Andre 3000, yMusic, Rob Moose, and Randy Newman along with music from Claude Debussy for a key moment in the film.
The casting by Sarah Halley Finn is marvelous as it feature some notable small roles and appearances from Michiko Nishiwaki as a kung-fu rival of Evelyn from an alternate universe, Andy Le and Brian Le as a couple of Alpha Trophy Jumpers that Evelyn and Alpha-Waymond deal with, Audrey Wasilewki and Peter Banifaz as a couple of RV officers working with Alpha-Waymond in a van, Sunita Mani and Aaron Lazar as actors in a musical that Evelyn often watches, Biff Wiff as a regular customer at the laundromat in Rick who is friendly with the family, Tallie Medel as Joy’s girlfriend Becky whom Evelyn thinks is a nice person but doesn’t approve of the relationship in fear of her dad, Harry Shum Jr. as a rival hibachi chef Evelyn deals with in an alternate universe as it reveals a big secret about what he does, and Jenny Slate in a superb small role as the customer known as Debbie the Dog Mom who always carries a dog and always talk while also plays an alternate version that Evelyn deals with.
Jamie Lee Curtis is brilliant as Deirdre Beaubeirdre as an IRS auditor who is trying to go after Evelyn’s family over their taxes while she also plays alternate versions of Deirdre as an antagonist force against Evelyn as well as being her life partner in an alternate universe. James Hong is excellent as Gong Gong as Evelyn’s father who is often demanding and disapproving of everything Evelyn does and doesn’t like Waymond while the Alpha-verse version is a more cunning individual who believes that sacrificing Joy would save the multiverse. Stephanie Hsu is amazing in a dual role as Joy and Jobu Tupaki where Hsu brings an angst and wit as Joy as someone that is trying to find herself and such while Hsu brings a lot of charisma as Tupaki as this oddball antagonist who wears weird clothes and such yet is such a joy to watch.
Ke Huy Quan is incredible as Waymond Wang as Evelyn’s meek husband who felt like he had let Evelyn down as he deals with the chaos of their marriage and family life while Quan also play alternate versions of Waymond as the Alpha-verse version is a cunning warrior with an offbeat sense of humor and a version of what if Evelyn never married him as it is a great performance from Quan. Finally, there’s Michelle Yeoh in a tremendous performance as Evelyn Quan Wang as a laundromat owner who is dealing with tax issues and a chaotic family life who finds herself in the middle of this event relating to the multiverse as she also deals with different versions of herself from alternate universes as well as a lot of “what ifs” scenarios as it has Yeoh display not just humility and great physicality but also in her comedic reactions as it is truly a career-defining performance for the actress.
Everything Everywhere All at Once is a magnificent film from Daniel Kwan and Daniel Scheinert that features a great ensemble cast lead by Michelle Yeoh with Ke Huy Quan, Stephanie Hsu, James Hong, and Jamie Lee Curtis. Along with its dazzling visuals, quirky music score, its mixture of genres, and its story revolving around a woman having to save her family and their fates relating to the multiverse. It is a film that unconventional in its overall presentation as well as being this film that plays into the importance of family no matter how many versions they are in different universes. In the end, Everything Everywhere All at Once is an outstanding film from Daniel Kwan and Daniel Scheinert.
Related: Swiss Army Man - (The Death of Dick Long)
© thevoid99 2023
The film revolves around a novelist who turns to her playboy father after becoming suspicious about her husband whom she believes is having an affair. It is a film with a simple premise as it plays into a woman not just dealing with the possibility of her husband having an affair but also questioning about the behavior of men where she turns to the worst person to go to in her father. Sofia Coppola’s screenplay is largely straightforward in its narrative yet it really follows the journey that Laura Keane (Rashida Jones) is going through not just as a mother trying to work on another novel but also raising two kids in Maya (Liyanna Muscat) and the toddler Theo (Alexandra and Anna Reimer) while her husband Dean (Marlon Wayans) is an entrepreneur trying to work on deals that would help their lives despite having to travel a lot.
Yet, when Dean returned home late one night and acting confused and Laura would later find a toiletry bag in Dean’s luggage that belonged to his one of his co-workers in Fiona (Jessica Henwick). Laura talks to her father Felix (Bill Murray) who arrives to New York City from Paris to visit as Laura tells him about Dean where Felix believes something is off. Felix has these theories while also has a lot of connections that makes him suspicious about Dean while he would take Laura out to posh places to eat as it also bring in some observations from Laura about why her father was always flirting and going after other women. Coppola’s script has a lot of witty dialogue but also a lot of dramatic suspense as it play into Laura’s own revelations about her marriage as the script also has Coppola maintain some element of repetition which add to the routine that Laura endures at home as she struggling to write and be a parent to two young kids.
Coppola’s direction does have some elements of style in the compositions that she creates that include some of her trademark shots that she is known for. Yet, much of it is straightforward in terms of its overall presentation as it is shot largely on location in New York City with one scene shot outside of the city and the film’s climax in Mexico. The film opens with a brief scene of Dean and Laura’s wedding and a moment where they go skinny-dipping at a pool as it play into a moment of happiness which then cuts to black and then back to Laura in bed sleeping when Dean arrives as he kisses Laura and has this confused look in his face that would also confuse Laura. Coppola’s approach to repetition in the way Laura spends much of her day in making breakfast for the kids, dropping her oldest to school, bringing the youngest home to nap, to try and work on her novel, and then pick up her oldest from school has a charm to the way every-day life is but it also play into Coppola’s recurring theme of disconnection where Laura feels like her marriage is in trouble. The usage of the wide and medium shots do play into that disconnect whether it’s in some of the exterior locations in New York City or in Mexico or at a certain place like a restaurant or a hotel bar.
Coppola also uses close-ups to play into not just this air of confusion and despair but also in moments that play into Laura’s relationship with her father such as a scene where they’re at the actual bar in the Continental hotel in New York City as it play into the way men are where Felix flirts with a women at the bar. The scene where Laura and Felix are trying to chase Dean shows that Felix is not just this ball of fun but also the fact that he really does care despite his offbeat behavior where he can be cynical at times. The third act as it relates to a business trip Dean went to that leads to this moment where Laura asks why Felix cheated on her mom as well as having affairs with other women. It is a scene where Felix does show he’s vulnerable but also about the fallacies of human nature as it is about control which is something Laura is trying to maintain. Overall, Coppola crafts a ravishing and somber film about a woman turning to her playboy father over concerns about the state of her marriage.
Cinematographer Philippe Le Sourd does incredible work with the film’s cinematography with its usage of low-key and vibrant lighting for many of the daytime exterior/interior scenes as well as some low-level lights for some of the interior scenes at night to help set a mood for some of the dramatic moments in the film. Editor Sarah Flack does amazing work with the editing as it does have some stylish usage of jump-cuts and such yet much of it is straightforward in terms of playing into the drama as well as some inventive montages to play into the routine of Laura’s life. Production designer Anne Ross, with set decorator Amy Beth Silver and art director Jennifer Dehghan, does excellent work with the look of the loft that Dean and Laura live in with their children as well as the office that Dean works at and the classroom where Laura is often in a conversation with another parent.
Costume designer Stacey Battat does fantastic work with the costumes from some of the casual clothes that Laura wears including a few stylish clothes she wears along with some of the suits that Felix wears to play into his posh lifestyle. Sound designer Richard Beggs and co-sound editor Roy Waldspurger do superb work with the sound as it adds to the atmosphere of the scenes such as how car horns and alarms sound outside of a building from the inside as well as the way an engine sounds on a vintage corvette as it is a highlight of the film. The film’s music by Phoenix is sublime in its mixture of ambient and indie to play into the sense of uncertainty that looms in Laura as they also supervise the soundtrack with Ian Broucek that doesn’t just feature a song by Phoenix but also an array of music ranging from jazz, classical, pop, and mariachi music with additional contributions from Paul Shaffer on producing songs that Felix sings as the soundtrack features bits from Chet Baker, Michael Nyman, Porches, Thelonious Monk with the Clark Terry Quartet, Franz Schubert, the Bill Evans Trio, and Mina.
The casting by Courtney Bright, Allison Hall, and Nicole Daniels is wonderful as it feature some notable small roles and appearances from Juliana Canfield as Laura’s sister Amanda, Musto Pelinkovicci as Felix’s driver, Kelly Lynch as a blonde woman Felix flirts with at the Continental, Evangeline Young as Maya’s ballet teacher, Barbara Bain as Laura’s grandmother, Mike Keller as a police officer who stops Felix over his driving, Alexandra and Anna Reimer as Laura and Dean’s toddler daughter Theo, Liyanna Muscat as Laura and Dean’s adolescent daughter Maya, Jenny Slate as a parent named Vanessa who often talks to Laura about her attempts in dating, and Jessica Henwick in a terrific performance as Dean’s co-worker Fiona whom Laura believes is Dean’s mistress. Marlon Wayans is brilliant as Dean as an entrepreneur who spends a lot of time traveling and working while also trying to make time for the kids and for Laura as it is a low-key and restrained performance from Wayans who is often known for comedy.
Finally, there’s the duo of Bill Murray and Rashida Jones in incredible performances in their respective roles as the father-daughter duo of Felix and Laura. Murray’s performance is one full of wit and charm as someone who is just trying to be a good father despite his playboy persona where he becomes suspicious of Dean where Murray also display a lot of restraint but also some vulnerability in some scenes. Jones’ performance as Laura is great in playing it straight but also someone who deals with the ideas that her marriage might end as it is a performance with some wit but also with energy into someone that is just trying to find answers. Murray and Jones together play off each other well as they also know how to interact and bounce off one another as they are the highlight of the film.
On the Rocks is a phenomenal film from Sofia Coppola that features great performances from Rashida Jones and Bill Murray. Along with its supporting cast, rapturous visuals, intoxicating music soundtrack, and themes of marriage and the faults of masculinity. The film is a compelling yet low-key film that has Coppola going for something simpler but also play into the idea of a woman trying to understand her father while dealing with the possibility about her husband. In the end, On the Rocks is a sensational film from Sofia Coppola.
Sofia Coppola Films: Lick the Star - The Virgin Suicides - Lost in Translation - Marie Antoinette - Somewhere - The Bling Ring - A Very Murray Christmas - The Beguiled (2017 film) - Priscilla (2023 film)
Sofia Coppola Soundtracks: Air-The Virgin Suicides OST - The Virgin Suicides OST - Lost in Translation OST - Marie Antoinette OST - (The Bling Ring OST) - (Priscilla OST)
Related: The Videos & Ads 1993-2008
- Favorite Films #1: Lost in Translation - The Auteurs #1: Sofia Coppola - Favorite Films #4: Somewhere
- 10 Reasons Why Lost in Translation is the Best Film Ever...
© thevoid99 2022
The film follows a stand-up comedian who just got dumped as she meets a man during a show leading to a one-night stand that resulted in her pregnancy and her eventual decision to have an abortion. It is a film that plays into a young woman who doesn’t have a lot of things in her life figured out as she just got dumped where she does her stand-up revealing that her boyfriend has been sleeping with her friend and is leaving her for her friend. Gillian Robespierre’s screenplay is largely straightforward in its narrative as it follows Donna Stern (Jenny Slate) who does her performance where she reveals she got dumped and a friend of hers has taken her boyfriend. While lamenting over her break-up and other misfortunes as well as being unable to pay her rent, she drinks where she meets a guy named Max (Jake Lacy) where they have a one-night stand that eventually lead to her pregnancy. With all of the things in her life, Donna decides to have an abortion but she also learns that Max is a former student of her mother as it only complicates things.
Robespierre’s direction is largely straightforward as it is shot on location in New York City with much of it in and around Brooklyn and parts of Manhattan. While there are some wide shots in some of Robespierre compositions, much of the film is intimate with its usage of medium shots and close-ups as it play into Donna’s interaction with other characters including her best friend/roommate Nellie (Gaby Hoffmann) and another comedian in Joey (Gabe Liedman). Robespierre does move the camera to gather some of the conversations in the streets while much of it has her just aiming for something simple as it play into Donna’s own anxiety in whether to tell Max or not that she’s carrying his child and planning to abort it. Robespierre also knows where to put the actors in a shot as well as showcasing how they perform and the reaction of the audiences. Robespierre also play into the drama in its third act it as it relates to Max and why he is different from the men that Donna had met in her life as he is also trying to find himself. Overall, Robespierre crafts an engaging and touching film about a woman dealing with a one-night stand and her decision to have an abortion.
Cinematographer Chris Teague does excellent work with the film’s cinematography as its emphasis on low-key and autumn/winter-like colors as well as yellowish lights for some of the interior/exterior scenes at night. Editors Casey Brooks and Jacob Craycroft do terrific work with the editing as it is largely straightforward with a few rhythmic cuts to play into the humor. Production designer Sara K. White, with set decorator Ramsey Scott and art director Bridget Rafferty, does fantastic work with the set design from the book store that Donna and Nellie work at where they live above as well as the interiors of the comedy club. Costume designer Evren Catlin does nice work with the costumes as it is largely casual in the winter clothing the characters wear including a few stylish blouses that Donna wears.
The sound work of Mark Corbin is superb for its low-key yet naturalistic approach to sound in how comedy clubs sound as well as sparse moments in the film. The film’s music by Chris Bordeaux is wonderful for its low-key indie-folk score that largely features bits of folk guitars and keyboards to play into some of its light-drama while its music soundtrack features some indie, folk, and classical music with contributions from Paul Simon, Ludwig Van Beethoven, and Pytor Ilyich Tchaikovsky.
The casting by Suzanne Crowley and Jessica Kelly is amazing as it feature some notable small roles from Stephen Singer as the bookstore owner Gene, Cindy Cheung as a physician in Dr. Bernard who gives Donna advice about her pregnancy, Paul Briganti as Donna’s ex-boyfriend Ryan, Gabe Liedman as Donna and Nellie’s friend Joey who is a gay comedian, and David Cross as a comedian in Sam who is trying to flirt with Donna. Richard Kind and Polly Draper are fantastic in their respective roles as Donna’s separated parents in Jacob and Nancy Stern who both provide different advice to Donna about her life with the former being more comical and the latter being more serious. Gaby Hoffmann is excellent as Donna’s friend/roommate Nellie who is one of the few to learn about the pregnancy as well as Donna’s decision to get pregnant while observing Max.
Jake Lacy is brilliant as Max as a former student of Nancy who meets Donna at a club as it lead to a one-night stand where Lacy brings a lot of wit but also someone who is just as uncertain about his own future as a person. Finally, there’s Jenny Slate in an incredible performance as Donna Stern as a stand-up comedian who is dealing with a lot in her life such as the need to find a new place to live, rent money, and a relationship that just ended only for things to worsen by a one-night stand that lead to her pregnancy and eventual abortion. Slate brings not just a lot of low-key wit to her performance but also some light-drama that is filled with anxiety and uncertainty that has an air of realism into someone who is dealing with a major event in her life.
Obvious Child is a phenomenal film from Gillian Robespierre that features a great leading performance from Jenny Slate. Along with its ensemble cast, exploration on unexpected pregnancy and abortion, and its simplistic presentation. It is a film that is a study of a woman who is still trying to find herself following a break-up and a one-night stand as well as dealing with the stigma of abortion. In the end, Obvious Child is a phenomenal film from Gillian Robespierre.
Gillian Robespierre Films: (Landline) – (The Pisces)
© thevoid99 2021
Based on the characters from DC Comics and Lego Construction Toys, The Lego Batman Movie is an animated film in which Lego Batman is trying to defeat the Joker and other villains while dealing with his own fears when he finds himself adopting a young boy who would become his sidekick. Directed by Chris McKay and screenplay by Seth Grahame-Smith, Chris McKenna, Erik Sommers, Jared Stern, and John Whittington from a story by Grahame-Smith, the film is a comical take on the Batman story told through Legos as it’s a spin-off of the 2014 film The Lego Movie with Will Arnett reprising his role as Batman. Also starring Zach Galifianakis, Rosario Dawson, Michael Cera, and Ralph Fiennes as Alfred. The Lego Batman Movie is a fun and exhilarating film from Chris McKay.
The film follows the Caped Crusader who is once again battling the Joker (Zach Galifianakis) and his army of villains to save Gotham as he isn’t sure what to do next after the Joker suddenly surrenders to the Gotham’s new police commissioner in Barbara Gordon (Rosario Dawson). It’s a film in which Batman is forced to face his greatest fear as he refuses to believe that he can work with other people preferring to work by himself. The film’s screenplay explore Batman’s desire to be the hero of Gotham and his belief that he can do it himself yet he remains haunted by the fact that he lost his parents as a child and couldn’t cope with the idea of a family. Yet, at a gala to celebrate the retirement of Jim Gordon (Hector Elizondo) where they announce Gordon’s daughter Barbara as his replacement. Batman in his true identity as Bruce Wayne would meet a young orphan in Dick Grayson (Michael Cera) where he unknowingly adopts him. Adding to this is the fact that he would use Grayson to retrieve a weapon at the home of Superman (Channing Tatum) in the hopes he can get rid of the Joker but he is unaware of what the Joker is planning.
Chris McKay’s direction is definitely stylish as it play into this world where it all Legos and all of the characters are Legos while using references to all of the Batman films of the past. While McKay would use wide shots to get a look of Gotham as well as some extravagant action set pieces in which Batman would battle various villains. McKay would also utilize medium shots and close-ups to play into the humor and some of the drama as the latter relate to Batman’s issues over needing some companionship as the only person he has around him is his butler Alfred. McKay would infuse a lot of offbeat moments in the animation as well as footage of films such as the 1966 Batman film and Jerry Maguire with the latter being a film that Batman likes to watch. It’s among these moments that provide that heightened sense of entertainment as well as moments where Batman reluctantly makes Grayson his sidekick known as Robin.
The film also has McKay maintain a look that fit in towards every set piece and how the characters would build something through whatever Lego piece they can find. Helping McKay with the look is production designer Grant Freckelton in the way Gotham looks as well as Wayne Manor and what the Joker would do to it for its third act. The film’s third act doesn’t just feature Joker teaming up with various villains from other stories such as Gremlins, Lord of the Rings, Harry Potter, and other franchises/films. It just adds to a climax that is crazy but also filled with a lot of humor and moments that aren’t afraid to be ridiculous. Overall, McKay creates a joyful and exuberant film about a vigilante struggling to deal with the idea of needing a family again.
Editors David Burrow, Matt Villa, and John Venzon do amazing work with the editing as it is stylish to play into the action without deviating too much into chaotic editing styles while playing up to the film’s humor with its approach to rhythmic cuts. Sound designer Wayne Pashley does brilliant work with the sound in creating some of the sound effects as well as how the voices matches up with whatever objects the characters are using to shoot. The film’s music by Lorne Balfe is fantastic for its orchestral-based score as it has a lot of bombast in the percussions and in the string arrangements while the soundtrack feature a lot of music from artists and acts like Patrick Stump, DNCE, Harry Nilsson, Wham!, Alesso with Tove Lo, Cutting Crew, Rick Astley, and Richard Cheese & Lounge Against the Machine.
The casting by Mary Hidalgo is great as it feature notable small voice roles and appearances from Eddie Izzard as Lord Voldemort, Jermaine Clement as Sauron, Jonah Hill as Hal Jordan/Green Lantern, Channing Tatum as Superman, Adam DeVine as Barry Allen/the Flash, David Burrows as an anchorman and Mr. Freeze, Doug Benson as Bane, Zoe Kravitz as Catwoman, Conan O’Brien as the Riddler, Billy Dee Williams as Two-Face, Jason Mantoukas as the Scarecrow, Riki Lindhome as Poison Ivy and Wicked Witch of the West, Seth Green as King Kong, Kate Micucci as Clayface, Mariah Carey as Mayor McCaskill, Lauren White as Chief O’Hara and Medusa, Susan Bennett as Batman’s computer, and Hector Elizondo as Gotham police commissioner Jim Gordon who retires and gives the job to his daughter. Jenny Slate is wonderful in her small voice role as Harley Quinn as the Joker’s girlfriend who would help him conspire his scheme to defeat Batman and destroy Gotham.
Ralph Fiennes is excellent as Alfred Pennyworth as Batman/Bruce Wayne’s loyal butler who is aware of Bruce’s reluctance to invite people into his life as he sees Dick as someone that could probably help Bruce. Rosario Dawson is brilliant as Barbara Gordon as Gotham’s new police commissioner who wants to make some changes as she hopes to rid Gotham of crime once and for all yet realizes how much she needs Batman to help achieve these ideas. Michael Cera is fantastic as Dick Grayson/Robin as an orphaned boy accidentally adopted by Bruce Wayne as he would become Batman’s sidekick where Cera brings in that sense of boyish energy that is needed to be Robin. Zach Galifianakis is amazing as the Joker where he provides a lot of wit and depth into the character as well as providing a complexity to the Joker as someone who just wants some respect from Batman and is willing to do anything to get that. Finally, there’s Will Arnett in an incredible voice performance as Batman/Bruce Wayne as the Caped Crusader who thinks he is cooler than everyone and doesn’t need anyone’s help but also has this torment inside over the idea of having a family again as it’s a very comical performance from Arnett.
The Lego Batman Movie is an awesome film from Chris McKay. Featuring some dazzling animation, some very funny and adventurous moments, and a lot of high-octane action. It’s a film that definitely manages to be something fans of Batman can enjoy as well as be something that is just pure fun for audiences of all ages. In the end, The Lego Batman Movie is a marvelous film from Chris McKay.
Related: The Lego Movie - (The Lego Ninjago Movie)
Batman Films: (Batman (1966 film)) – Batman (1989 film) - Batman Returns - Batman Forever - Batman & Robin - Batman Begins - The Dark Knight - The Dark Knight Rises - Batman v Superman: Dawn of Justice - The Batman (2022 film)
© thevoid99 2017
